TranscendingMusic wrote:The peak we can set aside, it won't give us useful "loudness" info any way. But are you sure about your figures? Green and Magenta are identical in RMS. And amber is just .1 dB different in the left channel - natural circuit/channel tolerance and certainly not enough to influence loudness in this case.

rms.png

as you see they're almost perfectly matched

Yes, those are very close to what I am seeing using the SWS RMS actions in REAPER - the additional DR is kind of interesting though. You can't set aside peak as those may be very much indicative of additional/different transient material that is getting though, which might account for the additional detail that is present.

Anyway, most of us who have been mixing for any length of time can hear much less than a dB of difference. Maybe it is interpreted as 'louder' or maybe as 'better' or whatever, but it is audible.

That being said, I am very happy to concede that it may have had no influence on me and I just prefer the sound of green with this song .

I'm not at all casting any doubts or faults or anything of the sort. I kindly thank you for doing this comparison. I really enjoyed listening to the differences.

Not a problem at all, it is okay to bring up a question about something. For instance about peak information. If we want to listen and compare to processed files, the pertinent part of those audio files that determine any kind of equal playing field in order to make those comparisons is the RMS level. I say cast aside peaks because they will take care of themselves. I agree that the nature of peaks can contribute to the perception of loudness but in the process of leaving nothing to any actual level difference, the peak value is merely the effect of the nature of the transients. So the added bonus or detriment we get form teh effects upon the peaks is just part of the nature of the comparison, but only as an additional characteristic. Otherwise trying to set files by peaks will deter the ear from where the only reliable place is to actually set levels: rms. For other purposes we can certainly gain knowledge of a processor by studying the peak response: such as phase response, circuit saturation, dynamic limiting like tape, etc. But for practical purposes in setting levels for comparison, we want to remove loudness out of the equation and only rms leveling can do that for us. Peak information after that fact is a bonus for sure

Hi TM. I was wondering if you could do a mix of this same song using Alex's latest 1073 V2? Personally I think it is quite an improvement on the first version and is closest to a real 1073 that I've heard ITB. Would be good to have that as a comparison.

Hi, the Ivory mix is my favourite so far. Hopefully you can get hold of the N**e collection in the future because I do think it would be great to add it to the list - esp given the thread on gearslutz regarding the 1073 comparisons

russianpolecat wrote:Hi, the Ivory mix is my favourite so far. Hopefully you can get hold of the N**e collection in the future because I do think it would be great to add it to the list - esp given the thread on gearslutz regarding the 1073 comparisons

yes the 1073 comparison was also more extensive, as it contained equalization for each instrument track.